In this task, you are given news articles and you need to generate a highlight, i.e., a short summary, with a maximum length of 10 lines.
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Question: If Mitt Romney were to write a bumper sticker slogan for the past month, it would probably be, "Detroit DID go bankrupt. Russia IS a geopolitical foe." Reality isn't quite so simple as to perfectly apply recent developments on Detroit and Russia to the American debate in 2012, but neither were Romney's arguments on the car industry and on Russia. That didn't stop Democrats and pundits from using them to beat Romney down. And it would be a good retort to Joe Biden's often-repeated 2012 bumper sticker slogan: "Osama bin Laden is dead and General Motors is alive!" Biden used the phrase to simultaneously flaunt what the Obama administration accomplished in the war on terror and hit Romney for his position against the auto bailout. Romney had different ideas than the president about the war on terror, and he also had outspoken ideas on Russia, which he told Wolf Blitzer on CNN in March of 2012 was "without question our number one geopolitical foe." His statement drew snickers in Washington and complaints in foreign policy circles that he was stuck in the Cold War. Archives: Hillary Clinton criticizes Romney's remarks on Russia . "You don't call Russia our No. 1 enemy -- not al Qaeda, Russia -- unless you're still stuck in a Cold War mind warp," President Barack Obama said at the Democratic National Convention last September. The president probably still wouldn't call Russia this country's top foe. But now that Russia has given NSA leaker Edward Snowden a year of asylum, and the two countries can't find accord on Syria or Iran, he might choose not to put the line in his convention speech. Snowden asylum could cancel planned Obama-Putin talks . "Now is the time to fundamentally rethink our relationship with Putin's Russia," Sen. John McCain said upon hearing news of Snowden's asylum. "We need to deal with the Russia that is, not the Russia we might wish for. We cannot allow today's action by [Russian President Vladimir Putin] to stand without serious repercussions." "Russia has stabbed us in the back," said Sen. Chuck Schumer, the New York Democrat. He called on Obama to protest by demanding the upcoming G-20 summit for world economic powers be moved away from Russia. Biden's slogan, "General Motors is alive!" drew a direct contrast between the candidates on the auto bailout that Obama engineered after initial action by President George W. Bush. Romney's much-cited New York Times op-ed argued the car industry should be shepherded into a managed bankruptcy and not propped up with taxpayer dollars. The headline of Romney's op-ed in November 2008 was "Let Detroit Go Bankrupt." That headline followed him all the way to November of 2012 when he lost the election. Romney's argument in the opinion piece was directed at the car industry, but it foreshadowed last month's news that the Detroit the city, once the powerhouse of the American economy, was going bankrupt. "[W]e refused to throw in the towel and do nothing," Obama said in a video message in October of 2012. "We refused to let Detroit go bankrupt, I bet on American workers, and American ingenuity and three years later that bet is paying off in a big way." A conservative might apply the high labor costs Romney cited as part of the downfall for the auto industry to the cost of government worker pension plans that have helped put the city in trouble. How to deal with promises made to public employees is an issue Americans will face in the coming decades in places far flung from the Motor City. Hatch: After Detroit, replace public pensions . The federal government has made pretty clear there won't be any sort of bailout for the city of Detroit like there was for the auto industry that lives there. CNNMoney: Why Obama won't bail out Detroit . Campaigns are full of little moments like the Detroit and Russia storylines that may have worked against Romney. They add up. More damaging for Romney than either the Detroit op-ed or the Russia as a foe storyline was his statement to fundraisers about giving up on the 47% of Americans who would not vote for him no matter what. This week we also got the most in-depth explanation from Romney on those comments in the form of a book excerpt from Washington Post writer Dan Balz. Romney said he was misunderstood. More: Romney regrets 47% comments . Archives: Romney doesn't back away from message caught on secret tape . In politics, eight months is an eternity. It's enough time for the Romneys to welcome four new grandchildren into the world. How Detroit and Russia and the 47% factored into 2012 are interesting historical questions, but the national dialogue has moved on. Romney is retired from national politics and the pundits and press have moved on to the 2016 parlor game. Trio of potential 2016 GOP contenders heading to South Carolina .

Answer: During the 2012 race, Mitt Romney was criticized for calling Russia the United States' top "geopolitical foe"
Romney was also haunted by an op-ed about the auto industry entitled "Let Detroit Go Bankrupt"
Now, Russia has granted temporary asylum to NSA leaker Edward Snowden and the City of Detroit is bankrupt .
But Romney was also hurt in his 2012 White House bid by other controversies like his "47 percent" comments .


Question: (CNN) -- A young woman stands against a crisp black backdrop. The photographer walks forward and gently turns her away from the camera. Today the focus is not on her face but on the delicate architectural feat that sits atop her head. It seems to almost defy gravity, with light radiating from the hair tower as it spirals upwards in a conical shape. Hairstyles have long been popular fashion statements for Nigerian women. But over the years, the intricate braiding and eye-catching sculptures have often reflected the country's changing sociopolitical times as well. And for the last six decades, one man made it his life's work to capture the complex refashioning of his homeland. In February, the renowned artist J.D. 'Okhai Ojeikere died at his home in Lagos aged 84. He left behind a remarkable body of work, much of which is largely unknown outside Nigeria. But now, many of Ojeikere's countrymen are putting in a renewed effort to celebrate the life of the beloved artist -- through documentary films, exhibitions and an impressive monograph of work, Nigeria is presenting J.D. 'Okhai Ojeikere to the world one last time. "He started taking images of a nation that was in the throes of development [and] independence in 1960," explains Bisi Silva, the founder and director of the Centre for Contemporary Art, Lagos. "We discovered oil, money... modern buildings were going up. So he documented that process, that transition into a modernizing nation." A final wish for a departed friend . Over the last five years, Silva has been working tirelessly to complete an extensive monograph on Ojeikere. This has not been yet another project for the art curator -- Ojeikere was a close friend, and the duo had been collaborating on the monograph up until his untimely passing in February. "I had a very close relationship with 'Pa Ojeikere,' as we call him here," says Silva, who turned to crowdfunding platform Kickstarter to raise funds for publishing the book. "I used to speak to him at least once a week." Silva recalls Ojeikere's passion and enthusiasm for the project and, holding it close to her heart, she says she's determined to finish what they had started together. "He was really dynamic, really passionate about photography and there was so much to learn in his archive. Over the last five years, we became friends. He was like a father to me. "It was just such a big shock that he passed away. That he wouldn't see the book he was extremely excited about." Documenting independence . Born in a small rural village in West Nigeria in 1930, Ojeikere would become one of Nigeria's most celebrated artists. For over 60 years, the master photographer fastidiously immersed himself in capturing his homeland, documenting every facet of daily life. His many photographs would come together to create a striking anthropological study of Nigeria. The 1950s saw a young Ojeikere searching for a vocation. Rejected by the army, it was an uncle who inadvertently put him on a lifelong journey by suggesting photography. Starting small, the untrained amateur would photograph women in his village as they donned their Sunday best and headed to church. Later on, Ojeikere got a job as a darkroom assistant at the Nigerian Ministry of Information. When he wasn't working, he was often found at the local university, snapping moments between students, staff and events on campus -- once again capturing daily life on film. The country was moving toward a time of social change and political upheaval and Ojeikere explored this through his lens. "You're getting a sort of history of Nigeria at a very important, transitional period, just on the cusp of independence," says Silva. "And just after independence [in 1960], when there is a feeling of euphoria, feeling of liberation, the sense of 'now we can conquer the world, we can develop the nation; we are free, we are independent.' "And this all comes out in the way in which individuals and people presented themselves. It's like: 'Look at me. I'm fashionable, I'm modern, I'm confident, I'm educated. I'm a professional.' All these images amount to a visual image of Nigeria in the 50s, 60s and 70s." Not just hair . Ojeikere's next job was working for the national television station, a career move that enabled him to rub shoulders with other creative minds. This is when he started to take photographs with more artistic intent, explains Silva. "He started coming into contact other artists, filmmakers, writers and that's why as he developed, the artistic intent as opposed to the anthropological intent began to develop. When we finally get to 'Hairstyles,' they are actually done in a very specific manner. It wasn't someone on the street. It was in a studio with a specific lighting, with a specific position." The "Hairstyles" series, for which he is so critically acclaimed, features over 1,000 photographs of Nigerian styles since 1954. But for Silva, his work documenting traditional Nigerian headgear and the country's architecture, as well as his studio portrait work, must be examined alongside "Hairstyles" to fully comprehend Ojeikere's legacy. The images communicate a transition from the normal photographs depicting Africa, says Silva. "The images we are used to seeing of Africa -- they gave a one dimensional perspective of a race, of a nation, of a people. It's been a herculean work to bring this publication together." Final tributes . Silva's monograph is just one tribute to Ojeikere. Nigerian filmmaker Tam Fiofori recently released "J.D. 'Okhai Ojeikere: Master Photographer," a documentary capturing the final year of the artist's life. Elsewhere, an exhibition of "Hairstyles" is currently shown across the UK. Curated by Gillian Fox, it is the first time audiences in the country are having the chance to view Nigeria from this perspective. "As a Nigerian, he wanted to document that moment in Nigeria when it was a time of colonial rule changing over to democracy," says Fox. "He was keen in the wake of modernization to capture something that was quite intrinsic to his culture, his nation and he saw the rate of change that was happening and he thought hairstyles were fascinating and an art form in their own right," she continues. "They were something that should be preserved because the thing about a hairstyle is that they are really ephemeral." She adds: "I think it was a love letter to his country. He used photography which is a very modern medium to document these moments of social change." Click through the gallery above to explore some of Ojeikere's iconic photographs.

Answer: Ojeikere was a Nigerian photographer who passed away in February .
Throughout his life, he took thousands of pictures cataloging the changing times of his nation .
Monograph from Centre for Contemporary Art, Lagos will showcase the work .


Question: Washington (CNN) -- A super PAC backed by the billionaire brothers Charles and David Koch is dropping $6.5 million into six competitive Senate races in a final ad push to send Republican candidates to the upper chamber. The television ads, which will air in Alaska, Arkansas, North Carolina, Colorado, Iowa and New Hampshire, link Democratic candidates in each race to President Barack Obama, reinforcing Republican messaging throughout the 2014 midterm season that has pushed the Democratic candidates in each of those states to keep their distance from the President. Local residents are the face of ads in the six states, saying either "there are lots of reasons" or "there are many reasons" why the Democrat doesn't deserve their vote. And the voters go on to say in similar form that, "A vote for [insert Democratic candidate here] is a vote for President Obama." The ads also close by directly endorsing the Republican candidate for Senate in each race, a push not seen from groups in the Koch political network before 2014. That's because Freedom Partners Action Fund is the first super PAC in the Koch's web of political groups that can do so under campaign laws. And while super PACs, unlike nonprofit issues groups, are required to disclose their donors, super PACs can also directly support individual candidates. The group was founded in June and the Koch Brothers donated more than $4 million to Freedom Partners Action Fund, according to the group's October quarterly disclosure with the Federal Elections Commission. The super PAC has also launched ads in several congressional districts in the last week and plans to push additional ads in key states before the election is over. "We'll launch additional ads, it's just for these states these are kind of our close out messages," the group's spokesman James Davis said. Dana Bash contributed to this report.

Answer:
The ads will air in Alaska, Arkansas, North Carolina, Colorado, Iowa and New Hampshire .
The ads follow a similar formula attaching the Democrat to President Barack Obama .
The group behind the ad is Freedom Partners Action Fund .


